CREPUSCULAR DAWN PAUL VIRILIO / SYLVERE LOTRINGER Translated by Mike Taormina SEMIOTEXT(E) FOREIGN AGENTS SERIES Copyright 2002 Semiotext(e) All rights reserved. This work, published as part of a program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Service of the French Embassy in the United States. Excerpts from this book were first published in Grey Room #3,The MIT Press, Spring 2001 (“After Architecture: A Conversation”); Made in USA #3, 2001 (“Unmade in USA”) and Pataphysics, Psychomilitary issue, 2002 (“The Genetic Bomb”). Special Thanks to Giancarlo Ambrosino, Emily Lacy for copy editing; Mark Dery for his erudition; Steve Argüelles for his musical expertise; Sanford Kwinter and Eran Neuman for their judicious comments; and Hedi El Kholti for his helpful sugges- tions. Finally, the authors would like to thank Chris Kraus for her suggestion of the title. This book is a project of the Semiotext(e) Institute for Outposthumanist Studies. Semiotext(e) Semiotext(e) 2571 W. Fifth Street 501 Philosophy Hall Los Angeles, CA 90057 Columbia University www.semiotexte.org New York, NY 10027 Cover Photography: Stephanie Meckler © 2002 Design: Hedi El Kholti ISBN: 1-58435-013-X Distributed by The MIT Press, Cambridge, Mass. and London, England Printed in the United States of America CONTENTS INTRODUCTION Time Bomb by Sylvère Lotringer 7 1. Wartime 8 2. War on Time 12 I. TIME BUNKER 19 1. Archeology 21 2. Dromology 46 II. THE GENETIC BOMB 93 1. Eugenics 95 2. The Accident of Science 135 EPILOGUE Crepuscular Dawn 168 Notes 181 INTRODUCTION TIME BOMB 7 CREPUSCULAR DAWN 1.WARTIME As the oxymoron in the title of this book indicates, there’s something deeply ambivalent about Virilio’s work and it is impossible to shrug it away in any simple way. Actually this ambivalence deserves to be looked at more closely: it is so thor- oughly embedded in his writing (or, alternatively, in the nature of his enquiry) that most of his readers will be shocked again and again to realize that this prodigious prophet of speed, undoubtedly the most important thinker of technology since Martin Heidegger, actually hates technology with a passion. And yet passion there is, possibly stronger even than hate, and so infectious that this absolute rejection of technology could also be experienced as a form of love, or devotion. In any case, it is a very powerful bond, and he certainly couldn’t have done what he did without it. Virilio’s world is a crepuscular one, but so flamboyant and poetic that it could easily be mistaken for a new dawn. 8 VIRILIO / LOTRINGER Virilio often reminds us of the bombardments he was subjected to as a child in Normandy during WWII. Paradoxically these bombs weren’t coming from the Germans who occupied France, but from the Allies who were trying to liberate it. So death was coming from both sides (a little girl he knew, a neighbor, was shot by a German patrol after curfew). It was war itself, and its impact on the populations, not just the German army, that became the enemy. This wanton destruction had a powerful impact on Virilio’s sensibility. It remained the “primal scene” for his lifelong obsession with war. Like any traumatic event, war remains at the center of his preoccupations, and he has been looking for it every- where with anticipation, with dread, with excitement. Only war can match war in intensity. However much you hate it, it becomes the means by which you connect creatively to the world. Many people felt crushed by this overwhelming violence and its aftermath (the news coming from the extermination camps, the horrors disclosed), but war seems on the contrary to have had on Virilio a bracing effect, as if it had been some kind of rite of passage, his entry in adulthood. The war made him touch base with reality. Reviewing a book in 1947, Georges Bataille said something of the kind, praising its author, David Rousset, a French resistant deported to a forced labor camp, for having been “exalted, almost euphoric, at the thought of participating in a demented experiment.” And Bataille dropped this terrible sen- tence: “Nothing more virile, nothing more healthy.”1 This com- ment still makes me shudder today and, of course, it was meant to have this effect on the reader. Yet I could never have written that myself. It wasn’t the kind of war I had experienced as a child (I am six years younger than Virilio, and Jewish). The war added some value to Rousset’s life, instead of taking away any possible sense of humanity. Virilio’s reaction to the war seems to have 9 CREPUSCULAR DAWN been similarly “virile,” and healthy. Like Rousset, touching the bottom made him realize that a truth was there begging to be unraveled. And he has been going for it ever since. It is not surprising then that Virilio’s first book, Bunker Archeology 2, would have documented the German blockhouses that dotted the Atlantic beaches after the war like so many cryptic dol- mens or Paleolithic caves. (They proved as futile in the long run as the Maginot Line painstakingly built by the French to contain the German Blitzkrieg). Virilio must have spent a long time pho- tographing this architecture of war along the coast all the way up to Belgium, although I suspect that he paid far more attention to the violence they contained in their thick wombs than to their baroque architecture. As will become clear in the first part of this book, it is not architecture itself that fascinates Virilio, but the archeology of violence, of which it is a part. I remember as a child climbing on these huge whales of concrete stranded on the beach and rolling down their smooth flanks to the sand below, like a human bomb. The last war was hardly over and we were already training for the war to come. Occasionally I would put my ear against the bunkers’ hardened shell to catch the roar of war still trapped inside. Bunker Archeology reads like an archeology of Virilio’s mind. (It is fitting, of course, that he is claustrophobic and never travels anywhere). Like the bunkers themselves keeping close watch on the sky at the edge of the entire continent, he keeps surveying the horizon of our shrinking world, eager to pick up advanced signs of our impending doom. “I try to be,” he said, “a kind of periscope of probable catastrophes.” And the claustrophobic image of the bunker kept growing bigger and bigger over time until it literally absorbed the entire planet. This is also the curve this book intends to follow, from a bunker in space to a bunker in time. Like a time bomb, this time bunker is all the more 10 VIRILIO / LOTRINGER ominous for being invisible. And so is the biological bomb born of the cyberworld, that is now threatening to take over where the atomic threat left off. The terrors of war can’t easily be forgotten. However hard you fight them in the dead of night, you know that the day will come when they will blast their way again into your life, and you can’t wait for it to happen. There’s nothing that stimulates the instinct of survival more and the “total mobilization” (as Ernst Junger would say) of one’s senses, than these constructed cataclysms. No wonder Virilio, in his work, consistently adopted von Clausewitz’s strategy of going to extremes. For the Prussian theorist, war always has a tendency to go beyond all limits and achieve total destruction unless politics steps in to prevent its complete release. But what happens when nothing is capable anymore of stopping the war machine that we have become ourselves on a global scale? War isn’t what it used to be. Obviously there is still plenty left of the good old ways all over the world, enough to fill our daily quota of massacres. For the most part, though, it has moved from steamy battlefields to a seamless process of preparation and organization. This logistical mutation, the “technological sur- prise” brought about by WWI, resulted in a war economy which keeps pursuing war by other means in times of war as well in times of peace. In a trans-political world like ours, it has become far more difficult, if not impossible, to check war’s infernal ten- dency toward escape. We may well be reaching the point of no return—or rather it is this point itself that is now escaping us. If war in all its forms, from the more explicit to the more imper- ceptible, has now become intractable, there is nothing left for the theorist of pure war but to adopt the very same tendency. This is the politics of the very worst 3 that Virilio has stubbornly defended against all reasonable objections—“Why are you 11 CREPUSCULAR DAWN always so negative?”—in order to pursue his crepuscular enquiry. If war isn’t in war anymore, for everyone to see, but buried in respectable laboratories and well-funded research agencies, science and knowledge themselves should cease to be considered above the fray. Technology is extending the reach of war exponentially—not just a war against entire populations, but a war of the human race against itself. This kind of deliri- um should be addressed for what it is, not with letter-bombs (Virilio is no Unabomber), or with terrorist threats, but from within knowledge itself. This is the line of thought that we started exploring together in Pure War twenty years ago4 and it is given full scope here in relation to the “biological bomb” con- ceived both archeologically, through an investigation of its eugenic roots, and prospectively, by going to the limits of the unimaginable which is already a reality.